LaFleur transcript
---- Episode 8 - Written by: Elizabeth Sarnoff & Kyle Pennington Directed by: Mark Goldman ---- Act 1 tugs desperately at the well rope. MILES: I think you can let go of that now. looks up and around. The flash has ended. He looks down. The rope dead-ends into solid earth, held up in tension only by Sawyer's tugging. Miles, Juliet, and Jin look on at Sawyer, who continues to tug. SAWYER: No. No! No! pulls down the length of the rope. SAWYER: No! No! No! JULIET: James, don't. SAWYER: Come on! Help me! Panting kneels down beside Sawyer as he claws at the earth around the rope. JULIET: James... Whispers Stop. stops and looks up at her. JULIET: voice We can't help him. Wherever John went, he's gone. And wherever we are is before that well was ever built. MILES: up at the sky Yeah, I'd say way before. JIN: What makes you— points ahead. Jin looks. Sawyer and Juliet get up to look as well. In the distance, not far from them, a colossal stone statue of an animal-headed Egyptian deity looks out over the ocean toward the horizon. In its hands, it holds two massive stone ankhs. ---- at the bottom of the well, Locke struggles on the floor of a stone cave-like chamber, injured, in the darkness. He screams. LOCKE: James! Can you hear me?! Can anyone hear me?! grabs on to a hold in the stone and pulls himself up, grunting. LOCKE: Aah! staggers through the chamber over to the frozen wheel, where it rattles and creaks, moving by some unseen force behind it. Locke gets a good hold on it, and, with the sound of ice breaking loose and a loud clank, he lifts the wheel up and pulls it back. Green light emanates from behind it. ---- Jin, Miles, Juliet, and Sawyer stand about, and the earth begins to shake. Flashes shoot at them and they grab their heads. And fall to the ground, kneeling, as a buzzing and magnetic humming overtakes all other sound. Down below, a look of surprise comes over Locke's face. Up above, the group is totally overcome by the rapid-fire flashes, and they all fall to the ground. White light envelopes everything, and the buzzing and humming stop. Miles holds his head, panting on the ground. Sawyer lifts himself up. JULIET: What the hell was that? MILES: Panting That one was different. It was... that was more like an earthquake. looks up to see the well has returned. SAWYER: up Locke! JULIET: up after him James, wait! leaps into the well, holding onto the rope. He doesn't get far. The well ends at ground level, blocked up by dirt and stones. SAWYER: Sighs Great. Panting aborts his plan and climbs back out of the well. JULIET: My headache is gone. MILES: Yeah, mine is, too. checks his nose with his hand. MILES: And my nose isn't bleeding anymore. also checks his nose. JULIET: I think it's over. I think John did it. looks down the well. They all look around. JIN: Now what? SAWYER: Now we wait for him to come back. JULIET: For how long? looks back down the well, and then back up at Juliet. SAWYER: As long as it takes. ---- card: Three Years Later place a tape reel on a reel-to-reel tape machine. Then the pick-up reel. They wrap the tape around the magnetic head, wind the two reels to take up the slack, and press a POWER button. Then, play. The music wows up to speed. It is Tony Orlando and Dawn's "Candida". A man in a DHARMA Initiative jumpsuit with a mustache and sideburns begins gyrating with a cute brunette wearing a tight shirt that reads, in American flag-backed letters, "geronimo jackson". Behind them, a bank of eight black-and-white cathode ray tube monitors display various static outdoor scenes, mostly of zones having sonar fence pylons, and on the control panel underneath the monitor bank, a plate sits stacked with brownies, kept company by a DHARMA beer. Shelves line the room filled with manuals and tapes. The brunette pulls up the collar of the man's tan jumpsuit. The stars won't come out / If they know that you're around PHIL: Are you kidding me? door slams. The man and the brunette turn to see another DHARMA-jumpsuited man standing at the entrance. PHIL: I'm gone ten minutes, and you're having a hootenanny? JERRY: Don't be such a bummer, man. Rosie was just droppin' off some brownies. You should thank her. Chuckles ROSIE: Yeah. turns off the reel-to-reel tape machine. The music stops. Jerry and Rosie stop dancing. Both men have DHARMA Initiative logo patches with five-pointed stars at the center. Below the patches, on the breast pockets are embroidered their first names and "SECURITY". PHIL: She shouldn't be here, Jerry. We're on the clock, man. JERRY: Ah, mellow out, Phil. W-what's gonna happen, huh? The polar bears are gonna figure a way out of their cages? looks to Rosie and chuckles. PHIL: That's not the point. If LaFleur finds out what you're doing here— JERRY: LaFleur's not gonna find out anything. on the bank of monitors catches Rosie's attention, and she leans in for a closer look. PHIL: —it's gonna be my ass, man. I'm the one who's gonna have to answer to him. ROSIE: Guys? What... JERRY: Relax, man. Nobody's gonna find out. one of the monitors, a figure stumbles and falls to the ground next to a set of pylons. ROSIE: Guys. What... and Jerry quit bickering and step over to the console. Phil sits down, looking carefully. The figure is hard to make out. PHIL: Is that a Hostile? JERRY: I don't know. presses a button marked "OVERLOAD"—"PUSH TO RESET" on an audio monitoring panel. Audio comes over the loudspeakers. The long-haired, staggering figure is panting. ROSIE: Is that... Horace? the monitor, "Horace" takes a big swig from a bottle. Phil tugs around his mouth. [Outside, at the site of the staggering figure, in the dark of night. It is Horace, Horace Goodspeed, DHARMA Initiative mathematician. Horace sets down the bottle in the grass and reaches into a brown pack.] in the security station, the trio looks on to see what Horace will do next. outside, Horace chomps on the largest cigar a man could get his lips around, and, humming drunkenly to himself, begins flicking a lighter. Putting the lighter to the end of the cigar— the monitor, in vivid black and white, he removes the cigar from his mouth and its fuse starts flickering. Jerry looks closer. outside, Horace lobs the giant stogie with a grunt, and it leaves a trace of smoke as it arcs through the air, beyond a sonar fence pylon toward a young tree, which, a second later, explodes loudly. in the security station, all three jump back at the noise. JERRY: Oh, he's got dynamite. ROSIE: Aah! Gasps PHIL: Get her out of here! Get her out of here now! Now! JERRY: Come on, Rosie. PHIL: I told you not to bring her here. I told you! rushes an indignant Rosie to the door and shoves her out. JERRY: You gotta get outta here now. Don't tell anyone you were here. Just go. Go! back to Phil Okay, this is bad. This is bad, man. PHIL: We gotta get LaFleur. JERRY: 3:00 in the morning. Do you really wanna wake LaFleur up? PHIL: No, of course not, but— JERRY: No, no, no. Maybe—maybe we can handle this ourselves, huh? PHIL: And maybe Horace blows himself up, and LaFleur kills us for not waking him. both look over at the bank of monitors just in time to see another explosion. Instantly, they look back at each other, and run for the door. PHIL: We gotta go—now! ---- in the dark, feet beat across the pavement. Jerry and Phil run along a cement path through the Barracks, stopping at the door of a house. On the porch, Jerry doubles over, panting. PHIL: Do you wanna knock? JERRY: Grunts You knock. PHIL: Fine. knocks meekly on the door. He looks at Jerry and sighs. Then back at the door, and raps a bit harder. A porch light goes on, and an annoyed male voice calls from inside. LAFLEUR: What? PHIL: Mr. LaFleur, sorry to bother you, but we got a situation out at the pylons. door swings open. Both men straighten up to attention. LAFLEUR: throat What kind of situation? JERRY: Uh, it's, uh, Horace. PHIL: He's got dynamite, and he's blowing up trees. turns with a sigh. It's Sawyer, clean-shaven and with washed hair, wearing a white undershirt. SAWYER: Son of a bitch. walks back into the house and grabs a jumpsuit similar to the other two men's—DHARMA logo, 5-pointed star in the middle, and on the pocket, "LaFleur"—"Head of Security". Sawyer zips up the jumpsuit and joins the two men, who look frightened. The door slams behind them. Act 2 horn honks impatiently, and Miles Straume exits a door in the Barracks, still pulling on a similar security jumpsuit. He pulls the door behind him and checks the knob. MILES: Relax! I'm comin'! runs up to a DHARMA van and pulls open the passenger side door to join Sawyer, who's driving. MILES: Sighs Hey, boss. SAWYER: Evening, Enos. You got your zapper with ya? MILES: Yep. Sighs You wanna tell me why I need it? shifts gears and begins driving off. SAWYER: Sighs 'Cause our fearless leader is out blowin' up trees. MILES: Why's he doin' that? SAWYER: Sighs 'Cause he's loaded. MILES: Since when does Horace drink? SAWYER: He doesn't, so we're gonna keep this on the down low. blue DHARMA van drives off into the night. ---- lies passed out in the grass, snoring, the DHARMA-brand whiskey bottle still in his right hand. His jumpsuit has an Arrow patch on it and reads, "Horace"—"Mathematician". A few unexploded sticks of dynamite lay strewn in the grass around him, while what's left of an unfortunate tree burns like a campfire behind him. Footsteps approach from either side. MILES: Oh, man. SAWYER: All right. Sighs You put out that fire. Pack up this dynamite. I'll take him home. MILES: Why don't you put out the fire, pack up, and—and I'll take him home? SAWYER: You wanna tell Amy where we found him? looks groundward. Sawyer smiles. SAWYER: Help me get him up. tug at both Horace's arms, grunting. ---- raps on a Barracks door, Horace slung over his left shoulder. He sighs, and the door opens. It's a woman, in her 30s, with dark red hair, curly. AMY: Gasps Oh, my God. Is he okay? SAWYER: You tell me. AMY: Bring him inside. does. AMY: The couch. The couch is fine. grunts. Horace hits the couch like a sack of potatoes. The woman appears to be eight or nine months' pregnant. AMY: Oh. Where'd you find him? SAWYER: his breath By the Flame, blowin' up trees with dynamite. Wanna tell me why? AMY: We had a fight. Sighs SAWYER: Must've been a doozy. AMY: Please, Jim. It's personal. SAWYER: Personal? You think this isn't gonna get out? It'll be on the coconut telegraph by breakfast. AMY: Sighs It was about Paul. SAWYER: Go on. AMY: Grunts Oh. holds her belly. SAWYER: What's the matter? You okay? falls forward in pain, grasping for Sawyer. He gets up and helps her. AMY: Groans Ohhh! The baby—it's coming. and gasps Ohhh!! SAWYER: Oh, hell. ---- card: Three Years Earlier - Sawyer and Juliet step out of some foliage to find Daniel Faraday kneeling alone in the jungle. FARADAY: Muttering I'm not gonna tell her. Don't even tell her. I won't. SAWYER: voice, to Juliet Where's Red? JULIET: I don't know. walks over to Faraday and stoops down to talk to him. Sawyer, Miles and Jin hang back. FARADAY: indistinctly No. I won't do it. I won't tell her. I won't do it. Won't... JULIET: Daniel? You okay? FARADAY: I'm not gonna do it. I'm not gonna tell her. JULIET: Daniel, where's Charlotte? FARADAY: breaking She's not here. She... She's gone. JULIET: Where? FARADAY: She's... dead. She's dead. There was another flash, and... and she was... she was just gone. nods sympathetically. FARADAY: Her... body just... crying disappeared. She moved on, and we stayed. JULIET: I'm so sorry. SAWYER: Hold on. Wait a minute. We "stayed"? We're not traveling through time anymore? You saying it's over? FARADAY: Of course it's over. Wherever we are now... whenever we are now... we're here for good. Juliet, or perhaps to himself I won't do it. JULIET: Whispers Okay. Okay. FARADAY: I won't. I'm not gonna—I'm—I'm... JULIET: Okay. FARADAY: I'm not gonna—I w—I won't. JULIET: Okay. Okay. FARADAY: Tell... SAWYER: Okay. Swell. Until Dan checks back in, I say we head back to the beach. When Locke gets back with everybody, that's where they'll be looking for us. MILES: The beach? What, you didn't get enough flaming arrows shot at you? And your camp is gone. Why bother? JULIET: Sawyer's right, Miles. We should go back to the beach. We survived there before. We can do it again. MILES: nobody in particular Or maybe when we get there, you'll—you'll wanna go back to the Orchid again. And then when that gets boring, we can head back to the beach. It's the only two plans you people have. SAWYER: Hey, zip it. I'm heading back to the beach. If our stuff's there, great. If not, we build new stuff. You don't like the plan, good luck. tromps off. Juliet looks at Miles. MILES: Who put him in charge? follows, and Jin goes, too. ---- little later, Miles leads the way, tossing a stick or bone in his hand. Faraday and Jin are not far behind, and Juliet and Sawyer take up the rear. SAWYER: Thanks for getting my back for that whole beach issue. JULIET: You should thank me. It was a stupid idea. SAWYER: Well, what does that say about you agreeing with me? JULIET: Any plan is better than no plan. Besides, if I hadn't agreed with you, we'd still be arguing about where to go next. I just hope you figure out something better before we get there. SAWYER: Well, I'm open to suggestions. hear gunshots and stop in their tracks. Juliet and Sawyer raise their rifles, the WWII-era rifles taken from 17-year-old Charles Widmore and Ellie back in 1954. Sawyer begins marching through the foliage in the direction of the gunshots, and Jin and Juliet go, too, while Faraday is more or less catatonic. They hear a woman sobbing in distance. WOMAN: distance Oh, no! No, Paul! Oh, God! Oh, God! Jin, Juliet, and Miles run through a clearing. They stop when, from far away, they spot two unkempt-looking men wearing dingy clothes holding a woman at gunpoint in the middle of a meadow of tall grass. She holds her arms up at them as they get closer. WOMAN: No, no, no, no! No, please! We didn't know! Paul, please, please say something. seems to be talking to a man who lies on the ground. Of the two unkempt men, one has a shadow, while the other has a full beard. The one with the shadow takes away the dead man's handgun and stuffs it in the back of his pants, then resumes pointing his own handgun at the woman while the unkempt man with the full beard covers her head with a burlap sack. She falls to her knees. WOMAN: No, no. No, no, no, no, no. We were just touring this park. We didn't mean anything. We were just having—Paul. Paul, please. Oh, my God! No! Sobbing No, Paul, please. Please. JULIET: Who do you think they are? MILES: Who cares who they are? We don't even know when they are. to Faraday, who sits desolately on the ground behind them Hey. voice Dan. We don't get involved, right? That's what you said. FARADAY: Lucidly Doesn't matter what we do. Whatever happened, happened. SAWYER: Sternly Yeah, thanks anyway, Plato. I'm going over there. Juliet You still got my back? JULIET: Absolutely. WOMAN: Paul, Paul. Talk to me! Talk to me, Paul! Paul is clearly dead, on the ground at the site of a picnic gone wrong: a blanket, plates of sandwiches, a wicker basket with a corked bottle of wine peeking out. BEARD: On your feet! WOMAN: Crying No, I can't! I can't! BEARD: Come on, get up! Now! WOMAN: Aah! bearded man roughly lifts the woman to her feet. BEARD: Shut up! SAWYER: forward All right, drop the gun! whips around and fires his handgun at Sawyer. As quickly as he fires, a bullet hole erupts in his chest, and he looks down at it, then falls backward, dead. WOMAN: Screams Oh, God. woman pants and gasps at the commotion, which she is blind to. Sawyer looks down at his rifle. He wasn't the one to have fired. He looks over and sees Juliet lower her own rifle from her sight. He looks up to see Beard lifting a rifle at him. Sawyer fires, and Beard topples backwards, dead. The woman sobs with terror, the bag still over her head. Juliet and Sawyer approach and disarm the two dead men. Sawyer removes the bag from her head. SAWYER: It's all right. It's okay. You're safe. It's over. woman has red, curly hair. Her name is Amy. AMY: Who are you? Sawyer looks at Juliet, then back at the woman. Act 3 sits wide-legged in the grass next to the dead Paul, stroking his hair and his chest. He wears a Security jumpsuit similar to those we've seen earlier. Daniel eyes her. Juliet cleans up the picnic while Miles patrols with her rifle. JULIET: Sawyer Her friend's wearing a DHARMA jumpsuit. That puts us in the '70s, '80s. SAWYER: The guys with the bags—Others? JULIET: Beats me. SAWYER: What, y'all don't know each other? JULIET: Before my time. JIN: Sawyer. Walkie. pulls a walkie-talkie off Shadow and tosses it to Sawyer. Sawyer fiddles with its dial and gets static hisses. JULIET: We need to go. SAWYER: I'm on it. goes over to Amy and stoops down to talk to her. SAWYER: Listen, sweetheart, we gotta get moving now. AMY: Who are you people? SAWYER: Our ship wrecked here on the way to Tahiti, but that ain't important right now, 'cause whoever's on the other end of this—those two might've given 'em a call before we saved you. AMY: We have to bury them. SAWYER: Bury them? We ain't got time to bury nobody. AMY: up We—we—we have to. The truce. her mouth Oh, God. Sniffles We have to bury them. And—and we have... breaking we have... and we have to bring it—him back home. We have to bring Paul back with us. Please. Please? Whispers Please. sobs. JIN: forward I'll carry him. SAWYER: All right, we'll put these guys in the ground and carry your friend back, but we better do it fast. AMY: He wasn't... my friend. He was my husband. Sniffles ---- group hikes down hilly terrain, with steep mountain peaks poking up behind them. Jin carries Paul's body over his shoulder. ---- SAWYER: Miles and Juliet All right, listen up. When we get there, there's gonna be a lot of questions. So just keep your mouth shut. Let me do the talking. MILES: You really think you can convince them that we were in a boat wreck? SAWYER: I'm a professional. I used to lie for a living. JULIET: Shouting Daniel! Stop! stops, looks up. A row of concrete pylons line the grassy landscape. Each concrete pylon has two copper-green hemispherical caps on its side near its top. Juliet comes forward toward Amy, who has also stopped this side of the pylons. JULIET: Turn it off. AMY: down, and then up again Turn what off? JULIET: Whatever that is. It looks like some sort of sonic fence or something. looks at Juliet, and she looks back. AMY: Where did you say your ship was going? SAWYER: Listen, sister, we're the ones who just saved your life and hid those bodies. So how about you trust us and turn that damn thing off? AMY: Okay. Okay, fine. moves to a pylon that has mounted near its bottom a control box. She types in the code 3-8-5-6 and the panel unlocks with a beep, allowing her to pull it upward to open the panel box with a click. She reaches in and pulls something out. SAWYER: Whispers "Sonic fence"? Didn't I say let me do the talking? JULIET: Whispers One more step, Dan would've fried his brain. SAWYER: His brain's already fried. AMY: Announcing Okay, it's off. SAWYER: You first. proceeds. A high-pitched electrical buzz is heard as she passes between the pylons, but she is otherwise fine. She turns back to the others. AMY: See? It's fine. SAWYER: All right, let's go. all move forward at once. SAWYER: And going forward, we should all do a better job of trustin'— high-pitched electrical buzzing brings Jin, Sawyer, Juliet, Miles and Daniel fall to their knees, grunting. They writhe on the ground and then go motionless. The buzzing stops, and Amy removes a pair of white earplugs from her ears and looks around. ---- card: Three Years Later. - A woman screams in the agony of labor. AMY: Screaming It hurts! Oh! doctor in a lab coat bearing the DHARMA Initiative patch of the Staff removes his stethoscope from his ears. DOCTOR: You're gonna be okay, Amy. Just try and relax. inhales and exhales deeply. The doctor steps away, past a nurse carrying a chart, and finds Sawyer loitering, pacing amongst the empty hospital beds. This is the medical office at the Barracks. DOCTOR: Where's Horace? Does he know his wife's in labor? SAWYER: He's unavailable. DOCTOR: Look, Amy's in a very dangerous situation. The baby's breech. SAWYER: What the hell does that mean? DOCTOR: It's upside down. She needs a Caesarean. SAWYER: Well, don't tell me about it. Just do it. DOCTOR: I'm an internist, not an obstetrician. Our women always deliver on the mainland. Amy was supposed to get on the sub on Tuesday. The baby's two weeks early. screams a terrible scream. SAWYER: Can you deliver this baby or not? DOCTOR: I don't know. rushes out the door. ---- Sawyer skirts some trees into a garage/depot with fuel containers, oil barrels and tires strewn about. A mechanic works on one of the blue DHARMA vans. SAWYER: the mechanic Hey, man. Where is she? mechanic points to the next van over. Sawyer finds a figure in a dark blue jumpsuit working with a whirring grinder underneath a blue DHARMA van. The grinder saw sparks. Sawyer knocks, and the whirring stops. Juliet wheels herself out from underneath the vehicle. Her jumpsuit's DHARMA logo patch has a wrench in the middle of it, and her embroidered pocket reads "Juliet"—"Motor Pool". JULIET: What's up? SAWYER: voice Amy's having her baby. JULIET: off her protective goggles What? SAWYER: pulling Juliet up Mm. Whispers Did you hear me? She's in trouble. Doc says she needs a Caesarean. wheels Sawyer around, switching positions with him. JULIET: voice We had an agreement. SAWYER: Screw our agreement. He ain't never done one. I'm guessing you have. JULIET: Don't you understand that every time I try to help a woman on this island give birth, it hasn't worked? SAWYER: Well, maybe whatever made that happen hasn't happened yet. You gotta try. You gotta help her. You're the only one that can. throws her work gloves at Sawyer and moves off. Sawyer sighs. ---- inside the medical office, Amy breathes deeply and quickly, while Juliet examines her, a hand on her abdomen. Sawyer faces off with the doctor a few paces away. JULIET: The baby's breech? DOCTOR: Yes, but— JULIET: Did you try an external cephalic version? DOCTOR: What? No. I— JULIET: It's probably too late. I'm gonna need a number 12 scalpel, 14-gauge sutures—half-round if you've got them—and an epidural anesthetic. DOCTOR: You're gonna need? Where is Horace? SAWYER: I'm speaking for Horace now, and I say she's delivering this baby. DOCTOR: I don't think it's a good idea. AMY: I want her. I want her to do it. Huh? Panting Mm. SAWYER: You heard the lady. doctor stands down and goes away. Sawyer steps up to Juliet. SAWYER: Listen... you're gonna do great. I know you are. brings her focus back to her task. JULIET: Okay. AMY: Cries Oh! pulls on a stethoscope. JULIET: Whispers Okay. Shh. cries. Sawyer heads outside. JULIET: Whispers Hey. ---- paces outside the medical office. A voice interrupts his worrying. It's not quite a voice we've ever heard before. JIN: Fluently Is everything okay? SAWYER: Amy went into labor. JIN: I know. Is she okay? SAWYER: I don't know. There's a problem. Juliet's in there. JIN: Juliet? SAWYER: Yeah, I pulled her out of retirement. men sit down on a bench. SAWYER: Any luck? JIN: We finished grid 1-3-3 today. No sign of our people. No one. SAWYER: Well, 1-3-4 then. JIN: How long do we look, James? SAWYER: As long as it takes. comes out, her face flushed. The men stand up. SAWYER: What happened? JULIET: Sighs It's a boy. SAWYER: He's okay? She's okay? JULIET: Sobbing Everyone's okay. Sighs proud grin breaks out on Sawyer's face, and he looks around, then back at Juliet, with a grin. Act 4 - Sawyer lays unconscious on a couch. His several days of stubble tell us we're back to the "Three Years Earlier" time period. SAWYER: Mm. groans, sighs, and grunts awake. He rubs his eyes, lifts his head, and looks up to see Horace, Mathematician standing over him, leaning against a pool table. They are in the rec room at the Barracks. HORACE: How's your head? SAWYER: It hurts. sighs, sits up, and looks around. SAWYER: Where are my people? HORACE: They're fine. Amy told me what happened in the jungle, and I really appreciate what you did. SAWYER: Well, y'all got a funny way of showing your appreciation. HORACE: Look, we have certain defense protocols. There are hostile indigenous people on this island, and we don't get along with them. So... why don't you tell me who the hell you are? SAWYER: My name's James LaFleur. You can call me Jim. HORACE: How'd you get to the island, Jim? SAWYER: If my friends are safe, why are you asking me all the questions? HORACE: They told me I need to talk to you, that you're the boat captain. looks down, and stands up. SAWYER: We got caught in a storm. Our ship wrecked. Must've hit the reef. Thankfully, we washed up on shore. plate of sandwiches and a glass of milk sit on the pool table. Sawyer helps himself to the glass of milk and sits back down on the couch. HORACE: What kind of ship? SAWYER: A salvage vessel. Searching for a famous lost wreck. It's an old slaver out of Portsmouth, England, called the Black Rock. You heard of her? HORACE: Can't say that I have. sips milk. HORACE: So... once you got washed ashore, why were you then wandering around in the jungle? SAWYER: Some of our crew were missin'. We were looking for 'em. That's when we came upon your girl instead. HORACE: Hmm. Well... throat, removes eyeglasses I tell you what, Jim. If your crew shows up, we'll send 'em along with ya. SAWYER: Send 'em where? HORACE: There's a submarine that leaves this island first thing in the morning. You and your friends, you're gonna get on it. It's gonna drop you off in Tahiti. You can find your way home from there. turns to leave. SAWYER: Hold on a minute, chief. We just saved that woman's life. Doesn't that earn us a week or two to find the rest of our people? HORACE: Nope. Only people that are allowed to stay on this compound are members of the DHARMA Initiative. And look, I don't want you to take this the wrong way, please, Jim, but you are not DHARMA material. leaves. ---- Faraday, Miles, Juliet and Jin sit around a patio table in the Barracks compound. Indistinct conversations and laughter of DHARMA Initiative residents surround them. MILES: We're screwed. He's probably trying to explain time travel by now. JULIET: Sawyer's gonna be fine. MILES: What are you lookin' at? JULIET: I lived here for over three years. That was my house over there. MILES: You were in the DHARMA Initiative? JULIET: No. The Others took over these Barracks and wiped out most of the people living in them. They brought me here on a sub a long time after that. MILES: Well... welcome home. JIN: Daniel... no more flash? revolve around Faraday as he speaks. FARADAY: No. No more flash. The record is spinning again. We're just not on the song we wanna be on. voice of a tiny girl attracts the attention first of Jin, then of Faraday. RED-HEADED GIRL: Babbling Hey, Mum. Where's Dad? spots a very small red-headed girl in a red dress, dancing and running near an adult companion. WOMAN: accent Come on, Luv. indistinctly tiny red-headed girl appears to wave to Daniel. FARADAY: Whispers Charlotte. walks up with Sawyer. HORACE: Hello. Somebody will be along shortly to show you to your rooms. In the meantime, Mr. LaFleur here can fill you in on the situation. departs. MILES: "Mr. LaFleur"? SAWYER: It's Creole. I improvised. JULIET: What happened in there? SAWYER: Well, he believed my story. But we're gettin' punted. The bastard's puttin' us on their sub tomorrow and shipping us off to Tahiti. MILES: How's that bad news? an alarm blares. All look up. Men and women around them start running with flashlights. WOMAN: You guys, come on! Now! MAN: Let's go! Get in! Get in! Get in! Move! MAN: Let's go! Get out of here! MAN: Come on! Come on! group are bewildered by the commotion. A man in a security jumpsuit runs up to them carrying a rifle. It is Phil, whom we've seen three years in the future. PHIL: Come on! Get inside! Move! Now! the alarm continues blaring, and indistinct shouts come from all around, Phil runs off into the Barracks compound, and Sawyer's group follow. bursts through a house door, followed by Sawyer, Jin, Phil, Miles, and Faraday. A lone woman stands in the kitchen, peering out the window, a rifle lifted and at the ready. PHIL: Heather, keep an eye on them. leaves and closes the door behind him. The alarm stops. Heather returns her attentions to the kitchen window. Sawyer looks cautiously out the living room window. Juliet comes to the window and looks out as well. In the distance, a man carrying a lighted torch enters the Barracks through the tree line. He plants his torch in the grassy lawn and proceeds toward the houses. As he gets closer, Juliet makes out who it is: Richard Alpert. She winces and exhales. She turns toward Sawyer and gives a subtle nod, as if to say, "Yes, it's one of mine." SAWYER: Uh-oh. Act 5 Barracks, night. Rows of parked bicycles, picket fences, picnic tables, patio furniture, and park benches. A gazebo. An unlit portable grill. No one around. All is still, save a hammock that swings slightly, either from the breeze or from having been just vacated in the alarm. The front door of a yellow house opens, and Horace Goodspeed peers out. Not far away, Richard Alpert stands alone under the lamplight, wearing close-cropped hair and a navy blue button-down shirt, looking little different than the last time we saw him 20 years earlier. Horace, hands in the pockets of his jumpsuit, strides out to meet Richard. HORACE: Hello, Mr. Alpert. RICHARD: Hello, Mr. Goodspeed. HORACE: I wish you would've told me you were coming. I would've turned the fence off for you. RICHARD: That fence may keep other things out, but not us. steps in closer. RICHARD: The only thing that does keep us out, Horace, is our truce... which you've now broken. HORACE: I don't know what you're talking about. RICHARD: Where are my two men? peers out of the window of the house he and Sawyer's group have taken refuge in. He can only hear Richard and Horace argue indistinctly in the distance, while Richard's torch continues to burn further away. Richard raises a finger to Horace, and Horace raises a hand back in debate. MILES: to the group inside You know what? Gettin' on that sub is starting to sound like a great idea. What do you say? Sub, anyone? SAWYER: Hold your horses, Banzai. No one's gettin' on a sub. bursts in through the front door with Phil. HORACE: Okay, LaFleur, how well'd you bury those bodies? SAWYER: Well, that depends on how hard he looks. sighs and turns back to Phil. HORACE: Call the Arrow. Tell them we're at Condition One. Take the heavy ordnance, and make sure the fence is at maximum. PHIL: Yes, sir. SAWYER: Let me talk to him. HORACE: Excuse me? SAWYER: Your buddy out there with the eyeliner—let me talk to him. HORACE: We had a truce with these people. You don't understand. SAWYER: I understand I'm the one that killed his men, and I'm the one that's gonna go out there and tell him why I did it. HORACE: his head I can't let you do that. SAWYER: Well, it's a good thing I ain't asking your permission. turns past Horace and opens the door, but Juliet stops him gently. JULIET: James, are you sure you know what you're doing? SAWYER: Not yet. Sighs But I'll figure somethin' out. leaves and closes the door behind him. Outside, Sawyer walks up to Richard, who is seated on a park bench. SAWYER: Hello, Richard. RICHARD: I'm sorry. Do we know each other? SAWYER: I'm the guy that killed your men. Heard some gunshots, saw two men throwing a bag over a woman's head. Gave 'em a chance to throw the weapons down and walk away, but one of them took a shot at me, and I defended myself. RICHARD: Is that so? SAWYER: That's so. RICHARD: Your people know that you're telling me this? SAWYER: They ain't my people, Hoss. So if you got some kind of a truce with them, it ain't been broken. RICHARD: If you're not a member of the DHARMA Initiative, then what are you? sits down on the bench next to Richard. SAWYER: Did you bury the bomb? RICHARD: Excuse me? SAWYER: The hydrogen bomb with "Jughead" written on the side. Did you bury it? RICHARD: How... looks at Sawyer interestedly. SAWYER: Yeah, I know about it. I also know that 20 years ago, some bald fella limped into your camp and fed you some mumbo jumbo about being your leader. And then poof... he went and disappeared right in front of ya. Any of this ringin' a bell? That man's name is John Locke, and I'm waitin' for him to come back. So... you still think I'm a member of the damn DHARMA Initiative? RICHARD: No. I guess I don't. But no matter who you are, two of my men are dead. And my people need some kind of justice. sighs. RICHARD: Now what are we gonna do about that? ---- later. Paul's dead body, now quite pale, rests on a bed. Horace enters the house with Sawyer. Amy holds vigil over Paul's body, still looking at him mournfully. HORACE: How are you doing, Amy? wipes her nose with a tissue. AMY: and sniffles Is he gone? tries to dry her eyes with her hand. AMY: Alpert? HORACE: No, he's not gone. We told him where the bodies were. AMY: Alarmed You told him? Why? HORACE: We had to. It was the only way to maintain the truce. Jim here worked it out with him, but... well, he's gonna need something from us now. He needs to take Paul's body back with him. AMY: Gasps Mm. gasps No. Oh! HORACE: Hey. AMY: Oh. Cries kneels down next to Amy. Sawyer sits in the background on a kitchen stool. HORACE: Hey, Ames. Listen, w— sighs. HORACE: We've been friends for a long time, yeah? So this is completely your choice. If you don't want to give him to them, then we will suffer the consequences. looks at Sawyer. AMY: They can take him. He would want to keep us safe. Sobs breaks Can I have a minute, please? gives Amy some privacy. Sniffling and sighing, she removes a simple necklace from around Paul's neck—a brown wooden ankh on a black string. She pulls it close to her mouth, cherishing it, then gets up and walks past Sawyer. SAWYER: I'm sorry. leaves the house. Horace looks at the body. SAWYER: You need some help? HORACE: Hmm? Oh. Nah, I've got it. Thanks. turns to leave through the back. HORACE: Hey, Jim, the sub leaving tomorrow morning—it returns in two weeks. Until then, you can stay and look for the rest of your crew. SAWYER: Thanks. walks out. ---- [Moments later, Sawyer finds Juliet looking out over the water on the submarine dock. The Galaga is docked there presently.] SAWYER: I bought us two weeks. Horace said we can wait for the next sub. Any luck, Locke'll be back by then. sits down on some crates. JULIET: And then what? SAWYER: What do you mean, "Then what"? JULIET: up to look at him Locke said he was leaving to save us. The flashes have stopped. They're over. No more bloody noses. We're already saved. That sub behind you brought me here. I've been trying to get off of this island for more than three years, and now I've got my chance. looks devastated. JULIET: I'm going to leave. SAWYER: Sighs You do realize it's 1974, that whatever it is you think you're going back to... it don't exist yet. JULIET: her face It's not a reason not to go. SAWYER: Well, what about me? You really gonna leave me here with the mad scientist and Mr. "I Speak to Dead People"? smiles. SAWYER: And Jin, who's a hell of a nice guy but not exactly the greatest conversationalist. JULIET: Smiling You'll be fine. SAWYER: Maybe... but who's gonna get my back? looks up at him, with a little bit of touched surprise at his sincerity. He disengages with a self-conscious smile and a sigh. SAWYER: Come on. Just give me two weeks, that's all I'm asking. Two weeks. JULIET: All right. Two weeks. smiles. So does Juliet, looking away. Sawyer looks back out over the water. ---- card: Three Years Later - A chessboard, as someone makes a move. It is the Barracks on a lovely day. Sawyer strolls down a path past a parked blue bicycle. A blonde woman tosses a volleyball with her young daughter. Turning to a patch of the gardener's handiwork, he spots a common sunflower, dainty and perfect, and picks it, bringing it to his nose for a sniff. He smiles. ---- vase of beautiful flowers adorns a tabletop. It is partnered with a bottle of Swan-labeled DHARMA Initiative merlot and a big bowl of delicious-looking garden salad. The table is set for dinner. The door opens and Sawyer enters the house. SAWYER: Mmm, somethin' smells good. JULIET: Hey there. wearing an oven mitt, brings a pot of pasta from the stove to the sink for straining. The kitchen counter is covered with carrots, peppers, cucumbers, eggplants, mushrooms, tomatoes, and lettuce. Leaning against one of the pillars, Sawyer brings the sunflower into view in front of him. Juliet looks up and notices, smiling. She puts her arms akimbo. JULIET: Is that for me? SAWYER: You were amazing today. takes the sunflower and puts her arms around him in a big hug. Sawyer chuckles. JULIET: Thank you for believing in me. SAWYER: Ah. arms still around his neck, Juliet looks into Sawyer's eyes, and gives him a peck on the mouth. She laughs. SAWYER: Mm. kisses her deeply. JULIET: I love you. SAWYER: Mmm. I love you, too. kiss again. SAWYER: Mmm. JULIET: Mmm. Act 6 eyeglasses on, Sawyer reads a hardback book, sans dust jacket, seated in a comfy chair. He hears the sound of a man stirring awake, and puts the book down. SAWYER: Wake up, boss. Goodpeed lies on the couch where Sawyer had placed him early that morning. He slowly comes to, holding his head. HORACE: Ah. Groans Oh! SAWYER: How's your head? HORACE: up It hurts. puts the book down on the coffee table and removes his glasses. SAWYER: I got good news and bad news. What you want first? HORACE: Sighs Good news. SAWYER: You're a daddy. Bad news is you missed it. HORACE: Oh, gosh. Amy... she had the baby? SAWYER: Smiling It's a boy. HORACE: A boy? SAWYER: Mm. HORACE: Ohh. Groans puts a glass of icewater to his right temple. SAWYER: Sighs Now how about you tell me why you're too busy drinkin' and blowin' up trees to see him get born? HORACE: I was, uh... some icewater I was looking for a pair of socks, and all of mine were dirty, so I went to grab a pair of Amy's, and... I found this... produces the ankh necklace from his breast pocket. HORACE: ...in the back of her drawer. It was Paul's. SAWYER: You got in a fight over a necklace? HORACE: I know. Sighs But... It's only been three years, Jim. Just three years that he's been gone. Is that really long enough to get over someone? thinks. SAWYER: Sighs I had a thing for a girl once. And I had a shot at her, but I didn't take it. For a little while, I'd lay in bed every night, wondering if it was a mistake. Wondering if... I'd ever stop thinking about her. And now I can barely even remember what she looks like. I mean, her face—it's... she's just gone. And she ain't never coming back. So... is three years long enough to get over someone? Absolutely. ---- morning, in Sawyer and Juliet's house, the couple lie asleep in bed, tightly spooned together. The telephone rings. Juliet wakens and tugs at Sawyer, as if to say, "Answer it!" SAWYER: Oh. Grunts phone keeps ringing. Sawyer, wearing boxers and a wifebeater, crawls over Juliet to answer the black rotary phone, grunting, groaning, and sighing as he does so. SAWYER: Grunts What? ... Wait. What? ... H—no. No. Don't bring 'em in. Just meet me in the North Valley. hangs up and jumps out of bed. JULIET: Who was it? retrieves his glasses from the dresser and snags a jumpsuit from the closet, rattling hangers. He sighs. JULIET: James, what's going on? SAWYER: It was Jin. turns to leave. JULIET: Is everything okay? turns back. SAWYER: Yeah. I just... I gotta go. does so. ---- North Valley, as early morning light touches the shoreside meadow. Sawyer drives up in a blue DHARMA Initiative Jeep. He parks the Jeep and gets out. A blue DHARMA van drives nearer, then stops. The passenger door opens and Hurley steps out, wearing a jeans jacket and carrying a guitar case. Jack steps out of the back in his suit and tie and breathes the island air. Sawyer looks at them in amazement. He removes his eyeglasses as Kate steps out from behind Hurley, wearing a tank top and black pants. Her face—those freckles. Kate. Sawyer. de:5.08 LaFleur/Transkription Category:Season 5